What doesn't serve him quite as well is the format of the album. For much of the two Candyman films, Glass used a choir backed by an organ. In the original movie, the music both fed off Bernard Rose's direction and enhanced the mood the directing created. I still say that the music Glass created is fearsome, oppressive, and daring. Without the movies, however, the score lacks focus. Although each develops its own identity, "Face to Razor," "Floating Candyman," and "Return to Cabrini," within themselves, become monotonous. Wordless choirs singing the melodies over organ music is great for atmosphere in a film, but it doesn't work for me in an album. And since these three tracks are sequential on the album, they form a twenty-three minute segment that I usually skip through. Glass's work fares much better in the tracks from the sequel film Candyman: Farewell to the Flesh. He seems to explore more territory here, and the relative brevity of the tracks actually aids their effect. The album wraps with "Reverend's Walk," a reprise of Music Box/Helen's Theme that lends a more contented, if not happier ending to the theme that played throughout this fine piece of composition. (Jan 8, 2002)